Mr. J Medeiros
Of Gods & Girls
Truth be told, independent rappers are often as limited as the constantly criticized commercial ones are. While major label emcees are usually seen bragging about excessive funds and how hard they are, indies are often restricted to bars about measly stacks and how they aren't gangsta--merely the polar opposite of their industry-driven counterparts. This leaves their fanbase equally limited to overly arrogant music snobs who despise the industry monster so much that they'll flock to anything that rages against their oppressor.
Going into his sophomore solo set, Of Gods and Girls, Mr. J Medeiros would be a perfect fit for this crowd. He's made a mark with his group The Procussions, touring with the likes of A Tribe Called Quest and garnering a spot on the respected OkayPlayer roster of artists. The Procussions were also the first act signed to the rejuvenated Rawkus Records, which, during its heyday during the 90s, was emblematic of the "real Hip Hop" amidst the sea of a quickly-commercializing industry. Fortunately, Mr. J proves that he's not limited to the broke rapper steez that plagues his contemporaries.
While certain facets of Gods and Girls make it easy to dismiss Mr. J as a stereotypical indie emcee--clean, non-misogynstic/materialistic bars, tracks and skits about being broke--his sincerity and skill level make each of his conceptual songs strike Hip Hop gold. Mr. J may be a tad idealistic for the tastes of some, but he's damn convincing throughout: "Apathy" features him ranting on various social and political issues, and he candidly spews from the POV of an alcoholic on "King of Rock Bottom." "Constance," on which Mr. J explores the world of child pornography, emerges as the album's and possibly a calling card for the emcee. As if attacking the topic itself wasn't enough, he tackles the perspectives of both an abused girl and a conflicted addict so potently that Chris Hansen (of MSNBC Dateline's To Catch A Predator) himself would be proud. How much can you hate on the preacher if he's not only right about his convictions, but has the evidence to back them up?
While conceptual content builds the meat of Gods and Girls, Mr. J fills the rest of the disc with an almost odd versatility. While the individuality of the aforementioned tracks may make one think his group setting holds him back, he doesn't sound desperate for attention alongside other bar-spitters. "Change" sees him waxing poetic with the Strange Fruit Project and groupmate Rez, and he teams up with indie staple Pigeon John on "Money," which succeeds despite a corny personification of greenbacks speaking between verses. He also displays skills behind the boards, lacing four of the album's rich 16 tracks.
While the aforementioned guests and outside producers all make worthy contributions, it's evident that Of Gods and Girls is Mr. J Mederios' show. Combining the talent and sensibilities of indie staples with the versatility and charisma of major label acts, Mr. J brings the best of both worlds.